Shape-shifting Canadian pop craftsman Daniel Bejar's ninth studio
album under the Destroyer moniker added a whole lot of Bryan Ferry
to a pot already boiling over with copious amounts of Bowie, Dylan,
and T. Rex. Bejar's predilection for pairing Oscar Wilde-inspired,
semi-apocalyptic witticisms with glam-kissed, minor-seventh retro
pop remained intact, but where previous outings like This Night and
Streethawk: A Seduction mined the '70s for inspiration, 2011's
Kaputt utilizes '80s sophisti-pop, New Romantic, Northern soul, and
straight-up adult contemporary to deliver a flawed but fascinating
record. Like Goldfrapp's divisive, 2010 retro dance-pop tribute
Head First, Kaputt is fully committed to its cause, wrapping
everything up in a pristine, immaculately produced biosphere that's
filled to the brim with twinkling synths, soft rock drums, and
enough wailing trumpets and saxophones to out-mellow Kenny G, David
Sanborn, and Dave Koz combined. Ever the well-read, secretly
pleased malcontent ("I write poetry for myself"), Bejar sounds more
comfortable in this new disguise than he does on his more
troubadour-oriented projects, as if producing the soundtrack for a
discotheque with a capacity of one was his intention all along. His
epic 11-minute, 2009 single "Bay of Pigs," which he described at
the time as "ambient disco," could hardly serve as a more fitting
conclusion to Kaputt, as it more than lives up to its creator's
boast. "Suicide Demo for Kara Walker," "Song for America,"
"Chinatown," all of which skillfully tread water between the urbane
intellectualism of Donald Fagan and the quiet, technical nihilism
of Talk Talk, differ very little from the remaining six cuts, which
may cause fans of his more adventurous work some fits, but there's
no denying their icy, coke-fueled 2:00 A.M. elegance. ~ James
|Country of origin:
J C D C
J C D C
||124 x 142 x 7mm (L x W x T)
Pop / Rock
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||Savage Night At the Opera
||Suicide Demo For Kara Walker
||Poor In Love
||Song For America
||Bay of Pigs (Detail)
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